religions Article Continuing Conjure: African-Based Spiritual Traditions in Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing James Mellis Guttman Community College, 50 West 40th St., New York, NY 10018, USA;
[email protected] Received: 10 April 2019; Accepted: 23 June 2019; Published: 26 June 2019 Abstract: In 2016 and 2017, Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing both won the National Book Award for fiction, the first time that two African-American writers have won the award in consecutive years. This article argues that both novels invoke African-based spirituality in order to create literary sites of resistance both within the narrative of the respective novels, but also within American culture at large. By drawing on a tradition of authors using African-based spiritual practices, particularly Voodoo, hoodoo, conjure and rootwork, Whitehead and Ward enter and engage in a tradition of African American protest literature based on African spiritual traditions, and use these traditions variously, both as a tie to an originary African identity, but also as protection and a locus of resistance to an oppressive society. That the characters within the novels engage in African spiritual traditions as a means of locating a sense of “home” within an oppressive white world, despite the novels being set centuries apart, shows that these traditions provide a possibility for empowerment and protest and can act as a means for contemporary readers to address their own political and social concerns. Keywords: voodoo; conjure; African-American literature; protest literature; African American culture; Whitehead; Ward; American literature; popular culture And we are walking together, cause we love one another There are ghosts at our table, they are feasting tonight.